Margaret Sullavan Movies

Allen R. Kerward's flagwaving stage play Proof thro' the Night was vastly improved in its screen adaptation, which was retitled Cry Havoc. Margaret Sullavan (making her first screen appearance in two years), Joan Blondell and Ann Southern are among the appropriately deglamorized actresses playing Red Cross nurses caught up in the Pacific War. As the Japanese army forces most of the American troops to retreat from Bataan, the nurses remain, tending to the miserable wretches left behind to defend a defenseless post. This atypical MGM production is far more successful in depicting the plight of courageous women trapped behind enemy lines than was Paramount's over-touted So Proudly We Hail (and the acting was better to boot). Among the very few male characters in Cry Havoc is young bit player Robert Mitchum, appearing briefly as a mortally wounded soldier. ~ Hal Erickson, Rovi

Charles Boyer and Margaret Sullavan star in this adaptation of Fannie Hurst's tearjerking novel about a woman who chooses to stand beside a man who cannot marry her. Rae (Margaret Sullavan) is a woman from Ohio who meets a dashing gentleman from out of town, Walter (Charles Boyer). They soon fall for each other, but he's due to leave town shortly. As he's about to leave, he calls her from the ship with a question: there's a minister on board who can marry them. Will she join him? As she dashes to the docks, she meets an old flame, and the delay causes her to miss the boat. Five years later, Rae is in New York City and unexpectedly runs into Walter; assuming that she left him behind intentionally, he married another woman. When he realizes that she still loves him, they begin an affair. Rae is content to live her life as "the other woman" until Walter travels to Europe and neglects to call her when he returns; convinced that their romance is over, Rae goes back to Ohio and agrees to marry Curt (Richard Carlson), who loved her long ago. When Walter discovers that Rae has gone back home, he races to Ohio to reclaim her hand. This was the second film version of Back Street, following a 1932 adaptation starring Irene Dunne and John Boles and preceding a 1961 remake with Susan Hayward and John Gavin. ~ Mark Deming, Rovi

The Shop Around the Corner is adapted from the Hungarian play by Nikolaus (Miklos) Laszlo. Budapest gift-shop clerk Alfred Kralik (James Stewart) and newly hired shopgirl Klara Novak (Margaret Sullavan) hate each other almost at first sight. Kralik would prefer the company of the woman with whom he is corresponding by mail but has never met. Novak likewise carries a torch for her male pen pal, whom she also has never laid eyes on. It doesn't take a PhD degree to figure out that Kralik and Novak have been writing letters to each other. The film's many subplots are carried by Frank Morgan as the kindhearted shopkeeper and by Joseph Schildkraut as a backstabbing employee whose comeuppance is sure to result in spontaneous applause from the audience. Directed with comic delicacy by Ernst Lubitsch, this was later remade in 1949 as In the Good Old Summertime, and in 1998 as You've Got Mail. It was also musicalized as the 1963 Broadway production She Loves Me. ~ Hal Erickson, Rovi

Originally designed for exhibition at the 1939 World's Fair, Land of Liberty is a 137-minute compendium of filmclips from past American historical epics. The project was sponsored by the Motion Picture Producers & Distributors of America, Inc. and supervised by Cecil B. DeMille, who also edited the film with the assistance of his crack Paramount production staff. The narration was written by old DeMille hands Jeannie MacPherson and Jesse Lasky Jr. and spoken by a talented team of uncredited announcers (one of whom sounded suspiciously like old C. B. himself). Clips from such Hollywood productions as America (1924), Abraham Lincoln (1930), Alexander Hamilton (1931), Show Boat (1936), Man of Conquest (1939) and DeMille's own The Plainsman (1936), The Buccaneer (1938) and Union Pacific (1939) are woven together into a chronological continuity, tracing American history from the Revolutionary War to the "present," which is largely represented by newsreel footage of President Roosevelt, the TVA project, and other current personalities and events. In later years, Land of Liberty was redistributed on the classroom circuit, with new footage added from historical dramas of the 1940s and 1950s. ~ Hal Erickson, Rovi

Based on a novel by Erich Maria Remarque, Three Comrades represented one of the few successful screenwriting efforts of F. Scott Fitzgerald. Set in Germany in the years just following World War I, the film stars Robert Taylor, Franchot Tone and Robert Young as three battle-weary, thoroughly disillusioned returning soldiers. The three friends pool their savings and open an auto-repair shop, and it is this that brings them in contact with wealthy motorist Lionel Atwill--and with Atwill's lovely travelling companion Margaret Sullavan. Taylor begins a romance with Sullavan, who soon joins the three comrades, making the group a jovial, fun-seeking foursome (this plot element bears traces of Hemingway's The Sun Also Rises, as well as the 1931 film The Last Flight). Though Sullavan suffers from tuberculosis (her shady past is only alluded to), she is encouraged by her male companions to fully enjoy what is left of her life. This becomes increasingly difficult when one of the comrades, Young, is killed during a political riot (it's a Nazi riot, though not so-labelled by ever-careful MGM). In the end, the four comrades are only two in number, with nothing but memories to see them through the cataclysmic years to come. Despite its Hollywoodized bowdlerization of the Remarque original, Three Comrades remains a poignant, haunting experience. ~ Hal Erickson, Rovi

Aspiring actress Cicely Tyler (Margaret Sullavan) puts her career on hold when she marries ambitious newsman Christopher Tyler (James Stewart). Meanwhile, Tommy Abbott (Ray Milland), who secretly loves Cicely, arranges a big Broadway break for her. This causes a rift in her marriage when Christopher is assigned to his newspaper's Rome bureau, but he soon deserts his post and promises never to leave her again when he discovers that she's pregnant. This rash act loses Christopher his job, forcing him to start right at the bottom again? And so goes the rest of the story, as Cicely and Christopher struggle to balance their romance and their careers. James Stewart's first significant leading-man role turned out to be at Universal, rather than his home studio of MGM; the loan-out was arranged by his old University Players friend and co-worker Margaret Sullavan, who was briefly married to Stewart's best pal Henry Fonda. Among the uncredited contributors to the screenplay of Next Time We Love was Preston Sturges. ~ Hal Erickson, Rovi

So Red the Rose is a Civil War drama that plays like a warm-up for Gone With the Wind--and, unlike Wind, has two genuine Southerners in the leading roles. Margaret Sullavan is the aristocratic mistress of a sprawling Southern plantation, whose sheltered lifestyle is rent asunder by the War. All that sustains her during the conflict's darkest days is her love for her distant cousin, a Confederate officer played by Randolph Scott. Despite the incursions of Yankee troops (most of whom are portrayed as one step above gorillas), Sullavan holds her family together even after her mansion is burned to the ground. She even manages to talk her slaves out of rebelling, in a scene that must have caused embarrassment for everyone concerned in later years. The fact that So Red the Rose died at the box office (industryites dubbed the picture "So Red the Ink") was the principal reason why so many producers turned down Gone with the Wind a few years later. ~ Hal Erickson, Rovi

Distantly related to Frederick Lewis Allen's non-fiction book of the same name, Only Yesterday uses fictional characters to trace the years between 1917 and 1929. Wealthy New Yorker John Boles recalls a long-ago affair with southern belle Margaret Sullavan. She gave birth to his child without ever naming the father, then moved to New York herself and set up a dress shop. As the stock-market crash of 1929 wipes out his life savings, Boles becomes remorseful over how he's forgotten Sullavan, who is now dying. He acknowledges that he is the father of her child, and promises to make a good life for the boy despite his dire financial situation. Only Yesterday opens with a remarkable montage sequence showing the devastating effects of the Depression; after that, it never quite gains momentum despite the superb performance of Margaret Sullavan (in her film debut). ~ Hal Erickson, Rovi